Inclusive Dance Company Changing Lives in Hertforshire

Silverbirch Dance is an inclusive dance company based in Hertfordshire, UK. Founded in 2002 by Suzie Birchwood under the premise that anybody and ‘any body’ can dance, the company aims, through a programme of performances, workshops and projects for schools, colleges, local authorities and community groups, to enable people to explore the creative possibilities in their own bodies and imaginations in a safe and supportive environment.

The Music Workshop Company spoke to David Nurse, Artistic Director of Silverbirch Dance, about the inspiration behind the company, and current projects and opportunities for participants in and around Hertfordshire.

“At Silverbirch we believe that watching performances and taking part in workshops led both by disabled people with and people without disabilities raises expectations of what disabled people can achieve and contribute. By creating safe social spaces where dancers can build their self-confidence and be supported to stay healthy, active and engaged, we aim to show that disability is not a barrier to a fulfilled and happy life, and through this, challenge perceptions of disabled people.

My own motivation for running the company lies firstly in the development of my practice. I have been involved in running companies before, spending 12 years as Youth Group Director for Magpie Dance, and I wanted to take on responsibility for the whole of a company’s work. Because Silverbirch provides such a wide range of offerings in various settings this is a chance for me to build on my previous experience, enhancing the work of the company and the skills of our participants and facilitators.

I am particularly keen to have disabled artists in an authorial and leadership role so that they are doing the work rather than having the work ‘done to them’. The company members at Silverbirch are incredibly dance-literate: Amazing dancers, performers and communicators. I want to continue to develop these skills so that they can be recognised as dance leaders and facilitators by the wider world.

Through inclusive creative dance projects I have seen (and heard) people literally find a voice. One young man who was an elective mute developed his non-verbal communication skills and confidence to such an extent that after an end of term performance he stood up and gave a 5 minute speech about the group and what we had been doing: Something he had never done before. After this it became quite hard to get him NOT to make a speech after each performance!

One member of the company at Silverbirch has developed her self-confidence through our inclusive sessions and mentoring on dealing with situations and our responses to those situations. Six months ago, any new situation, ‘surprise’, or sense of tension would reduce her to tears. Her participation at Silverbirch means she is now able to take a moment, calm herself and continue to contribute to the group.

At a recent performance in a primary school where we performed for the whole school, the pupils were captivated and intrigued by the company. One girl who was wearing hearing aids leapt up at the end to tell one of our dancers, ‘You’re amazing!’ I think the performance and workshop were particularly impactful for a number of students who had impairments. There was one boy who seemed to have difficulty focusing and joining in with his peers. In our workshop he was gradually drawn into the group until he was participating without his support worker, fully engaged, focused and included.

Projects at Silverbirch

Silverbirch Dance currently deliver a number of diverse and dynamic projects and creative opportunities:

Silverbirch Dance

This is our graduate performance company which rehearses once a week and gives performances around Hertfordshire and the surrounding area. Through weekly technique and creative workshops Silverbirch Dance explore the many and various ways that the human body can be used as an expressive instrument.

We aim to develop company members’ skills so that they can take a leadership role in the creative life of their community as performers and facilitators.

The company’s current touring production, ‘HOP!’ is a vibrant and dynamic exploration of a Harlem nightclub, created by Suzie Birchwood and the company and performed to specially commissioned music. The show’s characters reflect the first inclusive club in America where all were welcomed and included regardless of their age, gender, abilities, sexuality, race or creed.

Each performance of ‘HOP!’ is paired with an inclusive creative dance workshop led by company members and based on the characters and themes within the piece.

DanceBase

These are our regular term time creative inclusive dance sessions for young people and adults where all are included and encouraged to explore their creativity in an inclusive, accessible and safe space.

DanceBase sessions are delivered by our amazing team of inclusive dance facilitators, assisted by members of the Silverbirch Dance company.

We currently run an Adult Group (16+) in Ware, Hertfordshire on Tuesday evenings during term time. We also run a Youth Group (under 16) and Adult Group (16+) in Watford, Hertfordshire on Wednesday evenings.

UV

This our regular club night, which is run by a management team of young disabled and non-disabled people and adults for their peers. The team make the creative decisions and carry out marketing for each night. The management team also undertake most of the fundraising for UV events. Recent themes include ‘The Roaring ‘20s’ and ‘Bhangra.’ UV aims to deliver a true clubbing experience with professional DJs and current music in a safe and inclusive environment.

Silverbirch Dance also deliver weekly inclusive dance sessions in local SEN schools and we are always open to new partnership possibilities with other schools and organisations. We have recently worked in collaboration with Hertfordshire Youth Orchestra and Hertfordshire County Youth Dance Company on a performance of excerpts from Prokofiev’s Romeo and Juliet. This was premiered at The Weston Auditorium. We continue to work in collaboration with these and other groups and Hertfordshire Music Service.

Throughout my career, I have always wanted to challenge stereotypes based on a person’s perceived abilities, gender, ethnic origin, age, nationality or sexual orientation.

I also believe that diversity enhances the creative possibilities of any group.

I believe diverse groups come together to create a total greater than the sum of their parts. We all have different abilities and sharing the workload enables us to achieve more than we ever can by working individually.”

For more details on the amazing projects at Silverbirch Dance and to find out what the company could do for you please check out the website: silverbirchdance.com

To book a ‘HOP!’ performance and workshop package for just £75 pounds please call the office on 07902042469 or email Artistic Director David Nurse david@artsbase.org.uk.

You can contact David Nurse by email at david@artsbase.org.uk or telephone the office on 07902042469


If you are interested in contacting the Music Workshop Company about booking a workshop or would like to feature your project on our next guest blog, contact us today.

 

 

 

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Debussy: Trailblazing Modernity

Achille Claude Debussy, or Claude Debussy as he’s usually known, was, along with Maurice Ravel, the most prominent French composer of classical music associated with Impressionism. Born in 1862, he died on March 25th, 1918, making this year the centenary of his death. His music is still incredibly popular, and ‘centenary’ recordings are trending in the classical music charts.

Impressionism is a term used to describe both music and art. In music, it indicates works that convey emotion, suggestion and atmosphere, using timbre (texture) harmony (colour) and orchestration (palette) in the same way that impressionist painters such as Monet and Renoir built an overall impression rather than a detailed realistic image.

Children on the Beach at Guernsey, Pierre-Auguste Renoir, 1883

These styles were in keeping with the literary fashion of the time: Symbolism. Symbolism was a reaction against the grittiness of realism. It featured metaphor and suggestion. Individual objects were given symbolic meanings with the intention of representing ‘absolute truths’ that could only be described indirectly.

Debussy rejected the term ‘Impressionism’ when applied to his music. In a letter of 1908 he wrote,

I am trying to do ‘something different’ — in a way realities — what the imbeciles call ‘impressionism’ is a term which is as poorly used as possible, particularly by art critics.

In fact, the composer spent a lot of time, and shared many ideals with symbolist writers, including Mallarmé and Pierre Loüys. Although the label of ‘impressionist’ that was given him in a less than flattering way after he submitted Le Printemps to the Conseil de Art (it was refused by the Académie’s Secretary in a letter warning him about “impressionism, the most dangerous enemy of artistic truth”), he adhered more to symbolism than impressionism, and transcended both.

Debussy at the Piano

Debussy’s musical language marked the era of modernity. His focus was constantly on originality – a genuine trailblazer in the world of music. Experimental from the outset, he was also a brilliant pianist and a fantastic sight-reader. While he applied the techniques of the old masters, he pushed these to their limits. He used whole tone scales, pentatonicism, and unresolved dissonances by removing them from the tonal framework.

Travels to Russia in his youth had interested in non-European music. These trips possibly also prepared him for the Paris Exposition Universelle of 1889, where he discovered the Japanese gamelan and Annamite theatre. By integrating these elements into his language, he created a sound that was previously unknown and was to spark modernism in music.

Russian music itself made a strong impression. Influences from late nineteenth-century Russian music, including that of Tchaikovsky, Mussorgsky, and Borodin can be heard in Debussy. There was increasing cross-cultural flow during the period of the Franco-Russian alliance in the late nineteenth century, and Russian music was also performed and popularised by musicians including Liszt and Saint-Saëns.

As winner of the 1884 Prix de Rome with his composition L’enfant prodigue, Debussy had received a scholarship to the Académie des Beaux-Arts. This included a four-year residence at the Villa Medici, the French Academy in Rome, to further his studies (1885–1887).

In his letters to Marie-Blanche Vasnier (a singer with whom he went on to have an eigth-year affair) he complained that he found the artistic atmosphere stifling. He didn’t enjoy the culture in Rome either. The operas of Donizetti and Verdi were distinctly not to his taste. He was often depressed and unable to compose. He was, however, inspired by Franz Liszt, whose command of the keyboard he found admirable.

In June 1885, he wrote of his desire to follow his own way, saying,

I am sure the Institute would not approve, for, naturally it regards the path which it ordains as the only right one. But there is no help for it! I am too enamoured of my freedom, too fond of my own ideas.

It was Debussy who can to some extent be attributed with the development of modern music in the United States in the early twentieth century. American music critics showed mixed reactions to the composer’s highly original harmonic language and style, but his modernistic musical language and symbolist ideals soon evoked enthusiasm. In the early decades of the century, Debussy’s orchestral music was championed more than that of any other contemporary composer by the symphony orchestras of Boston, Chicago, and New York. His work is also thought to have influenced American jazz long after his death.

Debussy died of rectal cancer at home in Paris home at the age of just 55. His death occurred in the midst of the aerial and artillery bombardment of Paris during the German Spring Offensive of World War I.

His funeral procession passed through deserted streets to Père Lachaise Cemetery as the German guns bombarded the city. The military situation in France was grave, and the public funeral he would otherwise have received, with its pomp and ceremonious graveside orations, was impossible. The following year, his body was reinterred in the small Passy Cemetery  behind the Trocadéro, fulfilling his wish to rest “among the trees and the birds”.

Further Reading:

Debussy: The first ‘modern’ composer (a New York Times article by Pianist Stephen Hough

Five pop-ish musicians who owe a debt to Debussy 

Debussy’s influence on jazz

And check out our MWC ‘Debussy’ Spotify playlists:

Debussy’s Piano Music

Debussy’s Orchestral Music

Aiming High with the Opera North Orchestra Academy

Acclaimed for the high quality of its operatic performances, Opera North also boasts one of the country’s finest orchestras. The Orchestra of Opera North plays at each of the Company’s operas and regularly performs at concerts in the region. An important, and enjoyable, additional strand of its work however, is ensuring that the next generation of young musicians are given valuable support, guidance and inspiration as they build on their playing expertise.

This month, the team at Opera North share their vision with MWC…

Opera North Orchestra Academy is the latest in a series of Opera North Education initiatives. It is an orchestral training programme for outstanding instrumentalists aged 14-19 years and studying at Grade 7 or above. During a week-long residential course in Leeds, which will take place between Tuesday 28 August and Saturday 1 September 2018, participants will be encouraged to take their playing and performance skills to the next level, whilst also getting the chance to meet like-minded young people and forge some life-long friendships along the way.

Throughout the week, the Academy musicians will rehearse exciting orchestral repertoire alongside the full Orchestra of Opera North and benefit from sectional coaching with the orchestra’s players in a bid to develop excellence in ensemble skills and orchestral performance. Guided by the players from the Orchestra of Opera North, the Academy musicians will also be given the opportunity to rehearse and perform chamber music, enhancing their overall music-making experience.

This video gives some idea of the community-centric focus held by Opera North. Here, the musicians of the orchestra create a surprise performance for shoppers in Leeds…

The Academy residential will culminate in a public concert under the baton of an internationally-renowned conductor, giving the Academy players a glimpse into what it takes to stage a professional orchestral performance and the excitement of the event itself. Subsequently, the participants will be invited to take part in ‘keeping in touch’ weekends during the October and February half terms and to join collaborative projects as part of the Opera North Youth Company.

Opera North’s Education Director, Jacqui Cameron, explains the idea behind the project:

The Orchestra Academy Summer Residency week aims to give everyone who takes part a valuable insight into working and rehearsing with a professional orchestra in an exciting and supportive environment. We decided to make entry by audition only to ensure that all participants are at the best stage in their playing to take advantage of this opportunity and for us to tailor the learning precisely to their needs.

It’s perfect for those who are already members of their local youth orchestra, as well as for students looking for an immersive musical experience during the summer. We hope that, having been given this glimpse of what it could be like, it will encourage many talented young players to consider pursuing a career in music with all the rewards that can bring.

The Company is well aware that some young people can be deterred by the idea of an audition so the process will be made as fun and friendly as possible to try and keep nerves to a minimum. The audition day will be split into two parts with an informal workshop in the morning where the young musicians will play some orchestral excerpts and learn about ensemble playing, followed by an opportunity to impress in the afternoon. The latter will be with the same players from the Orchestra of Opera North who have worked with the young people in the morning, so the auditionees will be playing their prepared solos in front of a friendly face. Whether successful or not, everyone will benefit from feedback on their playing and will hopefully leave the audition day having found it a positive learning experience.

The Orchestra Academy joins Opera North’s acclaimed portfolio of youth ensembles for both young instrumentalists and singers of all ages and abilities, including Opera North Junior Strings, Opera North Children’s Chorus, Opera North Young Voices and Opera North Youth Chorus. The Company also runs an open-access Orchestra Camp in the summer for which there is no need to audition.

More information and applications (by Monday 9 April) for the Opera North Orchestra Academy can be made at https://www.operanorth.co.uk/opera-north-orchestra-academy. Auditions will be held in Leeds on Saturday 21 April.”

 

 

 


If you would like to speak to the Music Workshop Company about booking a tailor-made workshop, or would like to contribute your project to our guest blog, contact us to find out more:

The MWC Playlists – Listening Resources for You

Listening to music is beneficial for many reasons. It can be a relaxing pastime in itself, inspiring, soothing and uplifting, or it can be a focused learning activity that has many positive influences on social and academic development. The benefits of music have been widely reported for years, marketed by companies selling the concept that a baby who listens to Mozart will grow up to be more intelligent. There’s some truth in behind this belief: Research indicates that music lessons change the course of brain development and are likely to influence children’s success in other, non-musical tasks (read our guest blog from Dawn Rose to find out more).

Last term MWC launched our new Spotify playlists. We will be adding more throughout the year but wanted to introduce you to some of the new listening resources that we have recently shared and offer you the chance to contribute ideas and requests.

As discussed in our blog, A Focus on Listening, there is still debate as to whether young people should be exposed to full symphonies, suites or operas.

But for our playlists we have put together a series of short pieces or movements of larger works to create selections of music on specific themes, or to showcase the work of particular composers and artists.

The idea behind all of our MWC resources is to make teachers’ lives easier. While some music teachers’ knowledge is encyclopaedic, covering a range of genres and styles, others come to take on responsibility for music in a school based purely on enthusiasm or having learnt an instrument when they were younger.

All of MWC’s free resources aim to support novices and experts alike. Check out our free online resources on our website to see the full range.

Our playlists have been developed to help in a range of ways. Perhaps some of these suggestions might inspire you:

  1. Play music as students enter and leave assembly or another school gatherings. This gives them something to focus on, discourages talking and can be used as a starting point for assembly topics or classroom activities
  2. Use music listening as a starting point for a number of subjects, particularly for Early Years and Primary children, for example:
  • Maths – counting beats in a bar
  • Literacy – using music as the inspiration for writing a story,
  • Nature – exploring how composers have characterised animals, birds and weather through music
  • Geography – listen to music from around the world
  • History – make a timeline of music influenced by historic events, or compare how music styles fit with historic culture, fashion and politics
  • Science – looking at the phenomena of sound and acoustics
  • Social skills – discovering how making a simple piece of music together requires teamwork and empathy
  1. Playlists can also be useful when the children arrive or leave for the school day. The MWC team are great believers in “send them out singing!”

The Playlists

Our most recent listening selection is based on the seasons of the year, a topic that has inspired composers for centuries. One of the most famous depictions of the changing weathers is Vivaldi’s Four Seasons written in the 1720s. Vivaldi’s work is a series of four violin concerti, representing Spring, Summer, Autumn and Winter, each of which is preceded by a sonnet describing the piece. This is thought to be one of the first examples of “programme music” – music that has a narrative.

The playlist takes us through the year, beginning with the popular Largo from Winter from Vivaldi’s Four Seasons. The sonnet preceding the movement is:

Passar al foco i di quieti e contenti
Mentre la pioggia fuor bagna ben cento.

Our favourite translation of this is:

To rest contentedly beside the hearth, while those outside are drenched by pouring rain.

We move on to Spring as portrayed by Leroy Anderson, Delius, Coates, Vivaldi and Piazzolla.

Summer is represented by works by Gershwin, Coates and Autumn by Delius and Grieg.

The Seasons Playlist – https://open.spotify.com/user/mariamwc/playlist/6FStRJ6u06zfSCbI3dsiAG

In anticipation of our forthcoming February blog about Welsh music, we have put together a playlist of traditional Welsh songs to help you celebrate St David’s Day on 1st March. Dydd Gwyl Dewi Hapus!

Welsh Traditional Songs – https://open.spotify.com/user/mariamwc/playlist/6kH5uBKNh84AsmLGqHPdLI

Our March blog will celebrate Debussy, commemorating 100 years since his death. We’ve put together two Debussy playlists, one showcasing his orchestral music, and the other featuring his piano music. Debussy is one of the composers most associated with Impressionist music and his work has been extremely influential.

Debussy Orchestral Music – https://open.spotify.com/user/mariamwc/playlist/6nLvshf8FJpAXYvlKXRlHz

Debussy Piano Music – https://open.spotify.com/user/mariamwc/playlist/6URpyG6ZqZLmI8fMQwFR8P

Check out these and other playlists on our website

If you would like a playlist on a particular theme or genre, email your request to Maria at music-workshop.co.uk…

 

 

Be Part of the Extraordinary: Support the Horniman Museum

The Horniman is an award-winning, family-friendly Museum and Gardens in south London’s Forest Hill. Established in Victorian times when tea trader and philanthropist Frederick Horniman first opened his house and collection of objects to visitors, the Museum is currently undergoing a major three-year development of its gallery spaces.

As part of this project, the Horniman’s world-renowned Anthropology collection will be redisplayed to create the World Gallery: A special space designed to encourage a wide appreciation, curiosity and celebration of the world, its people, places and cultures.

In order to make this happen, the museum is crowdfunding until October 31st.

The Horniman’s Charlotte Stanley talks to the Music Workshop Company about the significance of the new gallery…

But first, check out this video which tells you all about the project: 

About the Horniman

“Since the museum first opened, our collection has grown significantly. It includes internationally important Designated collections of anthropology and musical instruments, as well as an acclaimed aquarium, natural history collection and 16.5 acres of beautiful gardens.

Over 1,300 musical instruments from the Horniman’s collection can be seen in the Music Gallery. Its display spans a wide range of instruments from around the world, making up the largest number on show in the UK.

The Horniman’s high quality collections, buildings and gardens allow us to draw together, in innovative ways, issues and stories relating to peoples, cultures and environments at a local, national and international level.

The Museum actively seeks to attract users of all ages, backgrounds and abilities. It has an exceptional record of educational achievement and encourages participation from as wide a range of people as possible.

We currently attract over 914,000 visits per year to our site. We have a loyal and high repeat audience, and visitor satisfaction is high at 98%.

The World Gallery

The Horniman is creating a new, free, World Gallery, which will celebrate what it means to be human. The World Gallery will reveal the strength and depth of the Horniman’s internationally important Anthropology Collection and be a place of inspiration for visitors of all ages. It will include more than 3,000 extraordinary objects from around the world, works of art and fun things to touch, play with and even smell.

This major project includes creating the World Gallery, Learning and Engagement activities and the conservation of architectural heritage.

Features of the World Gallery:

  • Visitors will be welcomed into the new gallery with an introduction to the emotional role that objects play in our daily lives. Digital displays will present local people talking about their personal treasures, and visitors will be encouraged to reconsider the significance of objects on display elsewhere, questioning which we place value on and why.
  • At the heart of the gallery are a series of encounters presenting life from the Americas, Africa, Oceania, Europe and Asia. The objects that visitors will encounter will celebrate human creativity, imagination and adaptability from the past to the present-day.
  • Beyond these encounters, different perspectives on our collections will explore the many ways that people understand and describe the world. Highlighting universal categories and ideas, objects will be displayed in different groups to pose questions about how people classify the material world around them.
  • Frederick Horniman’s founding vision for the Horniman Museum and Gardens will be explored with objects from Surrey House, the forerunner of the present Museum. Horniman gave his museum and its collections to the people of London to help them discover the world – a legacy that lives on in the World Gallery.
  • The gallery space is completed with kites and banners hanging from the newly renovated ceiling vault. Collected and commissioned from Guatemala, China, London and beyond, these emblems signify the global instinct to come together in celebration, play or protest.

Learning and Engagement

For the last 50 years we’ve been renowned for our unique handling collection, offering the opportunity to touch objects from our collections such as a shark’s jaw or a piece of an Ancient Egyptian coffin. With a new learning programme we are developing new ways to engage with local people, community groups and school children.

We will encourage a wider appreciation of our collection, examining its history, connections and relevance to people today by creating lessons for schools and resources for teachers and families, alongside resources and information in the gallery.

Conservation of architectural heritage

There have been vital architectural and infrastructure improvements in the gallery space. Some much-needed TLC and structural changes have re-introduced daylight to the space, enhancing the visitor experience and recapturing the spirit of the original building. The refurbishment and repair works will enable us to preserve both our internationally significant collection and our historic buildings.

Our Grade II* listed museum was designed in 1896 in the Arts and Crafts style by Charles Harrison Townsend. Our much-loved Clocktower and original buildings were chosen by the people of Lewisham as their iconic building for the 2012 Olympics celebrations.

Please help us bring the World Gallery to the Horniman

The Horniman is crowdfunding for the World Gallery up to 31 October. This is your opportunity to be part of this amazing project!

From personalised poems by the Horniman walrus to private tours of the new gallery, a range of rewards are available at crowdfunder.co.uk/worldgallery.

 

Website: http://www.horniman.ac.uk

Email: enquiry@horniman.ac.uk

 

 


The Music Workshop Company is passionate about supporting creative and educational projects. If you would like to be featured as a guest blogger, please contact us using the form below. We’d also love to hear from you if you would like to ask about booking one of our music workshops. 

Higher Education: What’s Right for You?

Although the deadline for applying to conservatoires and music colleges has passed, the closing date for university applications through UCAS (UCAS.com) is the 15th January 2018.

This gives plenty of time for potential applicants to consider whether they want to study at university, and if so, which university and which course best suits them.

Alex Baxter, Programme Leader Music Technology Programmes at the University of Hertfordshire advises:

The best degree courses expose their students to the huge range of connected areas which make up music technology as a whole – including those that students may not know even exist when they start their course.  Industry accredited degrees highlight that the broader industry sees the course content as being relevant to current industry practice, and this also offers excellent opportunities for industry input, and live projects where students’ developing techniques can be applied.  Universities which foster collaboration opportunities between courses (ie music technology students working with film & TV and animation students) offer that great extra dimension, as does the opportunity to study abroad or take a work placement.

UCAS offer 1,763 courses with ‘music’ in the title. These range from BMus(Hons) and BA(Hons) in Music to courses in Music Production, Songwriting, Music Performance, Community Music, Music Psychology, Music Technology, Music Composition, Music Business, Musical Theatre, Commercial Music, Digital Music, Popular Music, Sound Design, Composition for Film & Games and Music Industry Management…

That’s before looking at Joint Honours Programmes: Music and another subject.

[Image: Emily]

Supporters of universities suggest that benefits for students include the opportunity to study an area of interest, meeting people with both similar and different interests, making connections with fellow students, lecturers and industry, and improving job prospects.

With current fees in the UK at £9,250 per year for many degree courses, plus the additional costs of study (text books, resources, accommodation, travel etc.), it’s important to consider whether university study is for you.

There is a big difference between studying for A-Levels or BTEC and studying at university. Although universities offer a range of support services, particularly for those with learning needs, university studies are much more focussed on individual study and research. This requires self-discipline and focus.

Choosing the right university for you is also important. Different universities have different specialisms and contacts within particular Industries or Sectors. For example, if you are considering studying Music Business or Music Industry Management, you may want to study in or close to London to take advantage of the opportunities in London for internships and attending Industry events.

Universities also have different ‘feels’. Attending open days where you can meet staff and current students and check out the facilities can help you get a good feel for each institution.

[Image: Ольга Жданова]

The teaching staff are also a key element of your university experience, so research the teaching team. See what research they have been involved in, what their position in the industry is and how active they are outside the university. Also find out about industry speakers and alumni. Developing your network while still at university is crucial to developing a career on graduation.

When selecting a university, key questions to ask yourself include:

  • Do you want to live at home or move away?
  • If you want to move away, does the university have halls and suitable accommodation nearby?
  • If studying music, what aspect of music do you want to study? What might you want to do as a job?
  • Do you want an academic programme or a more vocational one?
  • Do you want to study with particular tutors/lecturers?

Key questions to ask the University include:

  • How much contact time do you get on the course? What wider support is available?
  • What experience do you get on the course? For example performing opportunities, recording, managing live projects?
  • What opportunities does the course give for Studying Abroad or a Work Placement as part of the degree?
  • Does the course focus on a specific discipline or does it give you a wide overview of your chosen area?
  • How involved in the programme are named tutors?
  • How many students are in each cohort / class?
  • What jobs do recent graduates get? Where are alumni working 3 – 5 years after graduation?

[Image: Danchuter]

The key to finding the right path for you is in looking at the most important aspects of study thoroughly. The most important decisions centre around whether or not to go to university, which course to study and where to study. It’s vital to take time to visit any universities you’re considering, and to seek advice from family, friends and people in your preferred industry.

The author of this blog, MWC’s Maria Thomas, is a Senior Lecturer on the Music Industry Management course at the University of Hertfordshire. 


If you would like to speak to the Music Workshop Company about anything in this blog, or to book a workshop, contact us today:

Chineke! Leading by Example

Chineke logo1The Chineke! Foundation was established in 2015: it’s mission, to provide career opportunities to young Black and Minority Ethnic (BME) classical musicians in the UK and Europe. At a time when much of the news around classical music focused on laurel ts, elitism and the problems of engaging young people in a ‘difficult genre’, the organisation has stepped forward with inspiring energy.

Chineke!’s message is of real importance to young BME musicians. For these students, the orchestra offers more than the traditional outreach: It offers role models.

Learning and Participation Manager, Ishani O’Connor, has been in her role since June 2017, and has already found herself  ‘very busy!’ The Music Workshop Company catches up with Ishani to hear more about Chineke! and its work both in the community and within its groundbreaking Junior Orchestra. 

“The Chineke! Foundation and its Professional and Junior orchestras were founded by Chi-chi Nwanoku OBE 2 years ago, specifically to promote ethnic diversity in classical music. Chineke! has had a stratospheric ascent, recently culminating in the Chineke! BBC Prom at the Royal Albert Hall, an event with a huge audience reach and the youngest orchestra in its history to be offered a Prom, becoming the BBC’s second most memorable Prom online, with over 10 million views.

This is a massive achievement by a dedicated orchestra management team​ ​but​ fundamental to the success of the Chineke! Orchestra has been the ​firm ​belief that​ mentorship and learning are key to th​e​ development of Chineke! as a cultural organisation. In this way, the Chineke! Orchestra provides the much​ ​needed role models for the Chineke! Juniors​.​

Chineke! Learning and Participation currently has a two-pronged approach to supporting the next generation; through the work with the Chineke! Juniors, encouraging young and gifted BME Classical music students by giving them opportunities to perform in the orchestra, and secondly by taking adult members of the Chineke! Orchestra into schools across the UK, to cities where the orchestra is touring, particularly in areas where there are higher statistical rates of BME communities.

Members of the adult orchestra working with young musicians in a Birmingham School

The Chineke! Juniors have the opportunity to perform in venues such as the Southbank Centre; in the Clore Ballroom and on stage at the Royal Festival Hall, but also in smaller venues such as at Hatfield House for the Hatfield House Chamber Music Festival – a sold out concert coming up in October 2017.

The Chineke! Juniors’ ages range from 11 to 18, and many are on a pathway to a Classical music career. The standard is from grades 6-8 and beyond. A professional orchestra starting its journey with an associate junior orchestra is unique in the UK and demonstrates a commitment to nurturing talent which is essential, if the Chineke! ‘effect’ is to perpetuate far into the future. The Chineke! Juniors act as a bridge between current youth music schemes and higher education, giving its players experience, encouragement and confidence during their formative years, whilst increasing the numbers of BME students currently studying music at third level.

A new star has shone this year, a member of the Chineke! Juniors who played in the orchestra’s first cohort in 2015. Sheku Kanneh-Mason; a dynamic and gifted cellist was winner of BBC Young Musician 2016 and has launched his solo career even before commencing his music degree. Although Sheku’s recent notoriety is all to do with his unmistakable talent, hard work and support from family and teachers, he is a brilliant role model to many of the young, BME musicians in the Chineke! Juniors but also throughout the world of music. Sheku’s association with Chineke! is evidence of a positive start to a great career and demonstrates the confidence-boost that playing with a group of BME musicians can give. The televised broadcast of Chineke!’s BBC Proms augmented Chineke!’s reach and I dearly hope that there will be BME students of classical music in the UK and across the world who watched this stunning concert who will be inspired by Sheku and the brilliance of the Chineke! Orchestra’s performance.

The ​young ​Sri Lankan born conductor, Manoj ​K​amps guided these gifted young people whose confidence​ ​blossomed​ under his leadership​. The Chineke! Juniors, many of whom were coming together for the first time, performed brilliantly​ ​both technically and musically​.​ At the event, they also led a ‘Passenger Seats’ session on the Clore Ballroom where audience members of all ages sat next to and in between them listening. They also offered a ‘Have a Go!’ session where players from the Chineke! Juniors worked peer-to-peer, very successfully, with children of their ages who wanted to try their hand at an instrument.

In a parallel exchange of skills, the adult musicians from the Chineke! Orchestra over the same weekend mentored and supported the Chineke! Juniors during rehearsals, developing their performance techniques and encouraging them to lead the sections of the orchestra, to listen and make eye contact with each other and play-out with more confidence. I watched as the young people’s backs straightened during every rehearsal session and their concentration and involvement became more intense and focused. It was a very quick progression; the talent and skills were already there, they just needed the support and platform to shine.

Members of the adult orchestra working with students in Birmingham

In our work with schools across the UK, Chineke! L&P aims to reach as many young people as we can in regions that do not normally have the benefits of London’s large arts ecology. We work closely with venues where the Chineke! Orchestra is performing, who often have their own education programmes and music hubs or other charities who are well-connected to schools. These workshops also promote the huge benefits that learning music has to the students at a time when music education and the arts in general are being de-funded in favour of the EBacc subjects.

Recently, we took a string quartet of Chineke! Orchestra musicians into the assemblies of three primary schools in inner city Birmingham in conjunction with the Chineke! Birmingham Symphony Hall concert. The quartet played a special transcription of three of Elgar’s Enigma Variations (we commissioned from a composer), including Nimrod, deliberately relating the repertoire to the Chineke! Orchestra concert. ‘The Enigma’ also helped us to create an interesting narrative for the children as each of the variations are named after someone Elgar knew, number XI, entitled GRS, about his favourite dog falling down a river bank.

Smile! Members of the adult orchestra with students in Birmingham

We also introduced the young audience to the work of a very interesting 18th century black composer, Joseph Boulogne (aka Le Chevalier de Saint-Georges) by playing one of his string quartets and with a presentation on his life. Born of a French plantation owner and an African slave, Saint-Georges was a multi-talented fencer, athlete, military commander and politician but also a violin virtuoso, orchestral conductor and composer who pioneered the string quartet as a musical form. The Chineke! Foundation also aims to educate the audience by celebrating the work of often forgotten or neglected, brilliant black composers. Other composers which the Chineke! Orchestra has played and continues to champion include, Samuel Coleridge-Taylor, Florence B. Price, George Walker and contemporary composers Errollyn Wallen and Hannah Kendall.

Chineke!, works through positive action, to enact change and increase the diversity of professional musicians in Classical music. The long-term goal is to see this change across manifold orchestras in the UK and in Europe. But music critics and regular concert-goers are already observing Chineke!’s effect on audiences, who are the most diverse I have ever seen at classical music concerts. Chineke! follows a very powerful, positive and effective journey of mentorship, which can be observed in the transformation of musicians who play in the Chineke! Orchestra and the unique privilege I have, of watching the Chineke! Juniors blossom during rehearsals and when they play on the UK’s most prestigious stages.

The Chineke! Foundation models how the combination of many different levels of mentorship can progress the development of individuals but also the whole organisation. Mentorship is demonstrated through peer-to-peer learning, professional to junior musician mentoring, the conductor’s leadership of the orchestra and it is transmitted from the expert performers on stage to curious audiences. This also encourages mentorship and support from venues and funders who see the great potential in an organisation that can lead the way in addressing the issue of the lack of diversity in the cultural and creative industries, through brilliant creativity and positive action. The most striking element of mentorship, however, is the unwavering leadership of Chineke! founder, Chi-chi Nwanoku OBE and her tireless effort to get the message out there; to encourage and recruit both young and established BME musicians and to change the face of the Classical music world, through direct action.”



www.chineke.org

Championing Change and Celebrating Diversity in Classical Music

 

Twitter @Chineke4Change

Facebook @chinekefoundation


Celebrating the Centenary of Two Jazz Greats: Thelonious Monk and Dizzy Gillespie

October 2017 marks what would have been the 100th birthday of two jazz legends: Thelonious Monk and Dizzy Gillespie.

Born 11 days apart on October 10 and 21, 1917, pianist, Monk and trumpeter, Gillespie, shaped the landscape of jazz composition and improvisation, each exploring harmonies with a complexity previously unheard in jazz, leaving behind an immense legacy of music.

Anyone familiar with jazz music knows the tune Round Midnight. That was written by Monk, as were standards including Blue Monk, Straight, No Chaser, Ruby, My Dear, Well, You Needn’t, and In Walked Bud.

Round Midnight, Thelonious Monk

Monk had an unorthodox approach to the piano. In fact, he was pretty unorthodox all round. Musically, his compositions and improvisations feature dissonances and angular melodic twists, which combined a highly percussive attack with sudden, dramatic use of silence, switched key releases and hesitations. The unusual contours of his music led the jazz critic Whitney Balliett to describe them as rippling,

with dissonances and rhythms that often give one the sensation of missing the bottom step in the dark.

Apparently, on one occasion, when Monk was a guest at a jazz class at Columbia University, the lecturer turned to him and asked if he would ”play some of your weird chords for the class.”

“‘What do you mean, weird?” Monk bridled. ”They’re perfectly logical.”

He thought of jazz as an adventure and was always looking for ways to use notes differently: New chords, new ways of syncopating, new figurations and new runs.

Personally, he was known for his distinctive dress sense – suits, hats and sunglasses. He was also unusual in his performance style. Often, during a gig, while the band carried on, he would stop playing, stand up from the keyboard, and dance for a few moments before returning to the piano. He was frequently labelled as aloof, eccentric and weird, with even his son, drummer T.S. Monk, describing his father as an, “unusual guy”, while critic and writer Stanley Crouch called Monk “an abstracted stride piano player… he played it in a way that made it funny.”

As a testament to his musicianship and character, Monk is the second most-recorded jazz composer after Duke Ellington. This is particularly remarkable as Ellington composed more than 1000 pieces, whereas Monk wrote only around 70. He is also one of only five jazz musicians to have ever been featured on the cover of Time Magazine, alongside Louis Armstrong, Dave Brubeck, Duke Ellington and, more recently, Wynton Marsalis,

According to an obituary of Monk by John S Wilson, Randy Weston, a pianist who studied with Mr. Monk, called him: “As complete an original as it is possible to be.”

Alongside Dizzy Gillespie, Monk led a generation of jazz musicians through the bebop era. Dubbed the “The High Priest of Bop,” he refused to conform to expectations.

For years, they were telling me to play commercial, be commercial. I’m not commercial. I say, play your own way. You play what you want, and let the public pick up on what you were doing, even if it takes 15, 20 years.

Monk Performs with his Quartet in 1969:

By the 1960s, Monk had achieved recognition. He worked regularly with a quartet featuring tenor saxophonist, Charlie Rouse until in the 1970’s, his public appearances became infrequent because of illness. His last official performance was at Carnegie Hall in 1976.

John Birks “Dizzy” Gillespie, along with Charlie Parker and Thelonious Monk, ushered in the era of Bebop in the American jazz tradition. The youngest of nine children, Gillespie began playing piano at the age of four and received a music scholarship to the Laurinburg Institute in North Carolina. Noted for his trademark ‘swollen cheeks,’ he admitted to copying the style of trumpeter Roy Eldridge early in his career.

It was when Gillespie began experimenting with his own style that he eventually came to the attention of Mario Bauza, the godfather of Afro-Cuban jazz who was then a member of the Cap Calloway Orchestra. Gillespie joined the band in 1939.

The following story is recorded in Playing the Changes: Milt Hinton’s Life in Stories and Photographs, by Milt Hinton, David G. Berger, and Holly Maxson,

Diz’s music was revolutionary. Even back then he was playing way ahead of the times. But only a couple of us who had our ears open listened. I knew he’d take music to a new place. So did Chu, Cozy [Cole], and a couple of the others.

Diz’s biggest musical problem was that he’d try playing things he couldn’t technically handle. I’d often hear him start a solo he just couldn’t finish. Whenever that happened, some of the older guys would look over at him and make ugly faces. Cab usually showed the same kind of disgust and often scolded Diz at rehearsals or after a performance. He’s say things like, “Why in hell can’t you play like everybody else? Why d’ya make all those mistakes and have all those funny sounds come outta your horn? Play it like the other guys do!”

Diz would sit quietly, with his head hung down. He looked like a little school kid being scolded by the teacher.

Gillespie continued to develop as one of the founding fathers of the Afro-Cuban/Latin jazz tradition. Influenced by Bauza, known as Gillespie’s musical father, he fused Afro-American jazz and Afro-Cuban rhythms to form a burgeoning Cubop sound.

He toured Africa, the Middle East, and Latin America under the sponsorship of the US State Department, frequently returning with new musical ideas, and with musicians who would eventually go on to achieve world recognition.

Dizzy Gillespie, On the Sunny Side of the Street 1958

With a strong sense of pride in his Afro-American heritage, Gillespie left a legacy of musical excellence that embraced and fused the music of Africa, the Caribbean, Cuba and other Latin American countries. He also left behind a legacy of humour and good will that infused jazz musicians and fans throughout the world with the genuine sense of jazz’s ability to transcend national and ethnic boundaries.

Dizzy Gillespie, Salt Peanuts:


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Government Bulldozes on with EBacc Despite Evidence

Last week, a notable eighteen months after the EBacc consultation closed, the Department for Education (DfE) finally published its response to the ISM’s Bacc for the Future campaign. And music industry and educational professionals have been scathing in their reaction.

A brief report titled trends in arts subjects in schools where English Baccalaureate entry has increased accompanies the DfE’s response, asserting that the EBacc has had no negative affect on arts take-up in schools.

The data used by the DfE in compiling this document is described by the ISM as

partial, out of date, and insufficiently rigorous in its analysis

The document, in which the government once again rebuffs claims that entries to arts subjects have fallen as a result of the EBacc, saying there is ‘no evidence’ that this is the case, contradicts both the rigorous research carried out by the University of Sussex earlier in 2017 and uptake figures and GCSE results published by Ofqual, the Joint Council for Qualifications and the DfE.

As predicted by the ISM throughout its campaign – a drive involving more than 200 organisations from across industry and education, head teachers and more than 100,000 individuals – data from both sources shows a substantial decline in arts uptake at GCSE level since the new EBacc was proposed in 2015.

In fact, despite the Government’s assertions to the contrary, Ofqual’s figures confirm a decline of 38,000 students, or 8% from 2016 to 2017, and the University of Sussex says that this year, 59.7% (393) of state schools it surveyed specifically stated that EBacc has had a negative impact on the provision and uptake of music, both within and beyond the curriculum.

A report published by the ISM in June showed that the number of pupils taking music at GCSE level dropped from 41,850 to 38,750 between 2016 and 2017. In June, the ISM also reported on a school that had decided to cut music lessons from its curriculum due to budget cuts.

The DfE schools census itself shows that the number of arts teachers has fallen by 16% since 2010, and the number of arts teaching hours has fallen by 17%. Schools are so squeezed by cuts to funding that music and other creative subjects are no longer a priority. Children are getting less access to arts in schools than they were in 2010, all contributing to a devastating impact on the uptake of creative subjects at GCSE.

The DfE report offers statements about the uptake of arts subjects but does not provide the underlying data. It gives no information on school make-up, size, geography, demographic, or number of arts subjects taken.

It states:

There is little correlation between the change in EBacc entry and the change in arts uptake in state-funded mainstream schools. The small correlation that exists suggests that schools where EBacc entry has increased tend to have also seen an increase in their arts uptake.

The Cultural Learning Alliance (CLA) suggests that this statement is based on data from the New Schools Network (NSN) report published in February 2017, which made the same claim, and disagrees with its analysis on the following basis:

  • NSN used GCSE entries from 2011 as a baseline, when the EBacc had already been introduced: CLA uses 2010
  • NSN excluded Design & Technology GCSE, and Independent School entries, which the CLA include in their figures

And the ISM says,

The data does not accurately reflect the new EBacc proposed in a consultation in November 2015. Since the new EBacc was launched, we have seen a consistent decline in the uptake of arts subjects (8% in 2016 and a further 8% in 2017) AND a decline in pupils taking ‘at least one arts subject’ for the first time since 2012.

However, the government’s consultation response, acknowledging the fact that preserving subjects such as the arts was the most-raised issue by the parents that responded to the consultation, goes on to suggest that there is a

small positive correlation

between school EBacc entries and arts entries, meaning schools that take on the EBacc also increase arts entries.

So who is telling the truth?

Writing for Schools Week, the ISM’s Chief Executive, Deborah Annetts says,

For a government that claims to care about economic growth, social mobility, diversity and the creative industries, the decision to press ahead with the EBacc policy is short-sighted and misconceived.

Throughout the Bacc for the Future campaign, the ISM has argued that the absence of creative subjects within the EBacc system will have a long-term, negative impact on the creative industries within the UK, but the government is still refusing to listen.

Creative Industries Chief Executive John Kampfner says,

The creative industries have been identified as one of five priority sectors in the governement’s industrial strategy in recognition of their economic contribution. However the Department for Education has not answered the sector’s concerns by continuing to sideline creative education in favour of academic subjects.

The Musician’s Union national organiser of education and training, Diane Widdison, agrees:

We are very disappointed that concrete evidence showing the EBacc is having a detrimental effect on the take-up of arts subjects within schools has been ignored by the government in its response to the consultation.

Our concern is that art subjects, such as music, are gradually disappearing from the curriculum and often are only offered as extra subjects with pupils being charged for their delivery.

This results in many pupils missing out of the opportunity to study arts subjects within school, and teachers of these subjects leaving the profession due to the lack of opportunity and recognition.

While Deborah Lawson, General Secretary of trade union, Voice, pulls no punches in describing the EBacc as,

narrow, restrictive and pointless

 What is the EBacc?

The English Baccalaureate (EBacc) is a school performance measure. It allows people to see how many pupils get a grade C or above in the core academic subjects at key stage 4 in any governement-funded school.

We introduced the EBacc measure in 2010. In June 2015, we announced our intention that all pupils who start year 7 in September 2015 take the EBacc subjects when they reach their GCSEs in 2020.

We ran a consultation on how to implement the EBacc from 3 November 2015 to 29 January 2016.

The EBacc is made up of: English, mathematics, history or geography, the sciences,  a language”

 From the http://www.gov.uk EBacc policy document

[Image: Ofqual, via gov.uk]

While damage to creative subjects is significant, with the Cultural Learning Alliance reporting a 27% drop in arts entries since 2010, implementation of the EBacc is already compromised. Plans to have 90% of all pupils in England studying this combination of core academic subjects by 2020 have been abandoned. Instead, Education Secretary Justine Greening has announced, 75% of pupils will be expected to take up the EBacc by 2022, and the 90% target has been pushed back to 2025.

And while arguments rage over its long-term effect, the EBacc is seen as out of date by education experts. General secretary of the Association of School and College Leaders, Geoff Barton says,

It’s hard to see what purpose it serves any more.

It helps neither students, parents, teachers, nor school leaders. In our view, and in line with the chief inspector of schools, schools should provide a curriculum with an academically rigorous core for all, plus broader opportunities in the arts and sport.

What schools and colleges offer should be driven by the needs of their students and communities, not by centrally-set targets.

And according to Kevin Courtney, general secretary of the NUT teaching union,

Research carried out by Kings College London for the NUT showed that 74% of teachers believed that the EBacc has narrowed the key stage 4 curriculum offer in their school. Arts and technical subjects are often the losers.

Courtney’s message is bleak:

The government’s persistence with a measure which reduces students’ opportunities to take part in such subjects risks disengaging them from education altogether.

[Image: Tiffany Bailey]

 

If you would like to respond to the claims made in the DfE’s report, contact Henry at the ISM for a copy of the two-page rebuttal document which was sent internally to campaign supporters.

Or write to the Prime Minister using this link: http://www.baccforthefuture.com


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